Abstract
The presentation uses the propositions of non-summative nature of the image and non-cumulative affective economy to argue that Sarah Kane's play 4.48 Psychosis through the incorporation of the written medical history into the playtext and the use of 'position' rather than stable stage character/voice produces a range of specific effects. On the one hand, Kane's play immerses the audience into the play through constant shift of 'position' by means of collective pronoun reference and undesignated flows of speech.
This way the stage and the audience become closely contingent. Nevertheless, the playtext precludes the formation of the stable image, thus preventing contact despite contingency.
This latter fact ruptures the affective economy from within, countering the concept of cumulative affective economy developed by Sara Ahmed.